BOSTON SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON

SEVENTY-FOURTH SEASON 1954-1955

Constitution Hall, Washington Boston Symphony Orchestra

(Seventy-fourth Season, 1954-1955) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Richard Burgin Joseph de Pasquale Sherman Walt Concert-master Jean Cauhape Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Rolland Tapley George Humphrey Contra- Norbert Lauga Jerome Lipson Richard Plaster Vladimir Resnikoff Robert Karol Harry Dickson Louis Artieres Horns Gottfried Wilfinger Reuben Green James Stagliano Einar Hansen Bernard Kadinoff Charles Yancich Joseph Leibovici Vincent Mauricci Harry Shapiro Emil Kornsand John Fiasca Harold Meek Roger Shermont Paul Keaney Paul Fedorovsky Violoncellos Osbourne McConathy Carlos Pinfield Samuel Mayes Walter Macdonald Minot Beale Alfred Zighera Herman Silberman Jacobus Langendoen Stanley Benson Mischa Nieland Roger Voisin Leo Panasevich Karl Zeise Marcel Lafosse Armando Ghitalla Sheldon Rotenberg Josef Zimbler Gerard Goguen Fredy Ostrovsky Bernard Parronchi Leon Marjollet Clarence Knudson Martin Hoherman Pierre Mayer Louis Berger Jacob Raichman Manuel Zung William Moyer Samuel Diamond Kauko Kahila Victor Manusevitch Doriot Anthony Dwyer Josef Orosz James Nagy James Pappoutsakis Melvin Bryant Phillip Kaplan Raphael Del Sordo K. Vinal Smith Piccolo Lloyd Stonestreet Saverio Messina George Madsen Harps William Waterhouse Bernard Zighera William Marshall Ralph Gomberg Olivia Luetcke Leonard Moss Jean Devergie Jesse Ceci John Holmes Roman Szulc English Horn Everett Firth Basses Louis Speyer Georges Moleux Percussion Gaston Dufresne Charles Smith Gino Cioffi Ludwig Juht Harold Farberman Manuel Valerio Irving Frankel Harold Thompson Pasquale Cardillo Henry Freeman E\) Hpnry Portnoi Librarians Henri Girard Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Victor Alpert, Ass't Constitution Hall, Washington

SEVENTY-FOURTH SEASON, 1954-1955

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

Concert Bulletin of the Third Concert

THURSDAY EVENING, January 13

with historical and descriptive notes by John N. Burk

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot . President

Jacob J. Kaplan . Vice-President

Richard C. Paine . Treasurer

Talcott M. Banks, Jr. C. D. Jackson John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Charles H. Stockton Francis W. Hatch Edward A. Taft Harold D. Hodgkinson Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry

Thomas D. Perry, Jr., Manager

G. W. Rector ) Assistant J. J. Brosnahan, Assistant Treasurer

N. S. Shirk ( Managers Rosario Mazzeo, Personnel Manager

[i] BOXHOLDERS

Season 1954-1955

Mrs. Dwight D. Eisenhower

Mr. and Mrs. Robert Woods Bliss The Ambassador of France and Madame Bonnet Mr. A. Marvin Braverman Mr. and Mrs. Darwin C. Brown Mr. and Mrs. Earl Campbell Miss Gertrude S. Carraway Mr. and Mrs. William R. Castle Mr. and Mrs. Henry P. Caulfield Mr. and Mrs. Arthur Chaite Mrs. William Croziei The Minister of Luxembourg and Madame Le Gallais Mr. and Mrs. Joseph C. Grew Mr. and Mrs. Sidney Hechinger The Ambassador of Cambodia and Madame Nong Kimny Mr. Roy Leifflen Mr. and Mrs. Eugene Meyer Dr. and Mrs. Howard Mitchell Mr. and Mrs. Charles Munch Mrs. George Hewitt Myers Judge and Mrs. George D. Neilson Mrs. Andrew J. Snow Mrs. Edwin M. Watson PATRONS AND PATRONESSES Mrs. Samuel Anderson Mrs. John W. Auchincloss Mr. Jennings Bailey Mrs. Truxton Beale Mrs. H. A. Berliner Mrs. Leonard Carmichael Gen. and Mrs. Lawton Collins Mrs. William Eustis Mrs. Chandler Hale Mrs. Christian Heurich Mrs. Milton King Admiral and Mrs. Emory Land Mr. A. H. Lawson Mrs. H. A. Monat Mrs. Vera Petschek Mrs. John Farr Simmons Mrs. Peter Vischer

[*] Constitution Hall, Washington

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

THIRD CONCERT

THURSDAY EVENING, January 13, at 8:30 o'clock

Program

Bach Brandenburg Concerto No. 6 in B-flat major, for Strings

I. Allegro

II. Adagio ma non tanto III. Allegro

Schumann Symphony No. 4, in D minor, Op. 120

I. Ziemlich langsam; Lebhaft

II. Romanze: Ziemlich langsam III. Scherzo: Lebhaft IV. Langsam; Lebhaft (Played without pause) INTERMISSION

Martinu Fantaisies Symphoniques (Symphony No. 6)

I. Lento; Allegro; Lento

II. Allegro

III. Lento; Allegro

Dukas "L'Apprenti Sorrier" (The Apprentice Sorcerer) Scherzo, after a Ballad by Goethe

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[4] BRANDENBURG CONCERTO IN B-FLAT MAJOR, NO. 6 FOR VlOLE DA BRACCIA, 2 VlOLE DA GAMBA, CELLO, VlOLONE AND CEMBALO By Johann Sebastian Bach

Born at Eisenach on March 21, 1685; died in Leipzig, July 28, 1750

Bach wrote the last of his set of Brandenburg Concertos in six individual parts, and it has been accordingly performed by six string players (2 violas and 2 cellos concertanti, additional cello with bass, and continuo) . In the present performances the parts are given to a string orchestra. To the brilliance of the Third Brandenburg Concerto, where the incisive tone of the violins predominates, Bach has opposed in his other string concerto, the Sixth, only the lower and darker register of the string instruments, the characteristic color of the violas pre- vailing in a close and constant duet. The lively course of the first allegro is relieved by a broadly melodic adagio in E-flat. Here the two parts are emphasized, for the gambas (cellos) in this movement are silent. The single cello part provides a sustaining legato, blend- ing with the usual bass accompaniment until it takes up the principal melody near the end. The last movement, in 12-8 time, restores the original key and vigorous interplay of voices. The Concerto, accord- ing to the observation of Sir Hubert Parry, "is a kind of mysterious counterpart to the Third Concerto; as the singular grouping of two violas, two viole da gamba and a 'cello and bass, prefigures. The colour is weird and picturesque throughout, and the subject matter such as benefits the unusual group of instruments employed." The "viola da braccia" which Bach specified was, as Charles San- ford Terry has pointed out in his invaluable book, Bach's Orchestra, nothing more than the ordinary viola of his time. The name survived to distinguish the "arm viol" from the "leg viol," the "viola da gamba."* The "viola da gamba/' the last survivor of the family of viols, was an obsolescent instrument in Bach's day, although good players upon it were still to be found.

In May of the year 1718, Prince Leopold of Anhalt-Cothen, travel- ling to Carlsbad to take the waters, was attended by some of his musical retinue — five musicians and a clavicembalo, under the sur- veillance of his Kapellmeister, Bach. He may have encountered there, in friendly rivalry, another musical prince, Christian Ludwig, Margraf of Brandenburg, youngest son of the Great Elector by a second wife. This dignitary, a young bachelor passionately devoted to music,

* The gamba was for centuries a gentleman's instrument. It will be remembered that Sir Toby Belch said of Sir Andrew Aguecheek in "Twelfth Night": "He plays o' the viol-de- gamboy, and speaks three or four languages word for word without book."

[51 boasted his own orchestra, and was extravagantly addicted to collec- ing a library of concertos. Charmed with Bach's talent, he immedi- ately commissioned him to write a brace of concertos. Bach did so — at his leisure; and in three years' time sent him the six concertos which have perpetuated this prince's name. The letter of dedication, dated

March (or May) 24, 1721, was roundly phrased in courtly French periods, addressed "A son altesse royale, Monseigneur Cretien Louis Marggraf de Brandenbourg," and signed with appropriate humility and obedient servitude: "Jean Sebastian Bach" (all proving either that Bach was an impeccable French scholar, or that he had one conveniently at hand) . The Margraf does not seem to have troubled to have had them performed (the manuscript at least shows no marks of usage) ; cataloguing his library he did not bother to specify the name of Bach beside Brescianello, Vivaldi, Venturini, or Valentiri, and after his death they were knocked down in a job lot of a hundred concertos, or another of seventy-seven concertos, at about four gros- chen apiece.* There are those in later times who are angered at reading of the lordly casualness of the high-born toward composers. One might point out that Bach in this case very likely took his prince's airs as in the order of things, that his service brought an assured subsistence and artistic freedom which was not unuseful to him. In this case, Bach composed as he wished, presumably collected his fee, and was careful to keep his own copy of the scores, for performance at Cothen. He was hardly the loser by the transaction, and he gave value received in a treasure which posterity agrees in calling the most striking de- velopment of the concerto grosso form until that time. The discern- ing Albert Schweitzer calls them "the purest products of Bach's

* The manuscripts came into the possession of J. P. Kirnberger, and subsequently his pupil, the Princess Amalie, sister of Frederick the Great. They ultimately came, with this lady's library, to the Royal Library in Berlin. NEW ENGLAND CONSERVATORY 290 HUNTINGTON AVENUE, BOSTON, MASSACHUSETTS

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[6] polyphonic style. Neither on the organ nor on the clavier could he have worked out the architecture of a movement with such vitality; the orchestra alone permits him absolute freedom in the leading and grouping of the obbligato voices. . . . One has only to go through these scores, in which Bach has marked all the nuances with the ut-

most care, to realize that the plastic pursuit of the musical idea is not in the least formal, but alive from beginning to end. Bach takes up the ground-idea of the old concerto, which develops the work out of the alternation of a larger body of tone — the tutti — and a smaller one — the concertino. Only with him the formal principle becomes a living one. It is not now a question merely of the alternation of the tutti and the concertino; the various tone-groups interpenetrate and react on each other, separate from each other, unite again, and all with

an incomprehensible artistic inevitability. The concerto is really the evolution and the vicissitudes of the theme. We really seem to see before us what the philosophy of all ages conceives as the fundamental

mystery of things — that self-unfolding of the idea in which it creates its own opposite in order to overcome it, creates another, which again

it overcomes, and so on and on until it finally returns to itself, having meanwhile traversed the whole of existence. We have the same im- pression of incomprehensible necessity and mysterious contentment

when we pursue the theme of one of these concertos, from its entry

in the tutti through its enigmatic struggle with its opposite, to the

moment when it enters into possession of itself again in the final tutti." [COPYRIGHTED]

SYMPHONY IN D MINOR, No. 4, Op. 120 By

Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856

Composed in 1841. at Leipzig, this symphony was first performed at a Gewand- haus concert on December 6 of the same year. Schumann made a new orchestration

in December, i8r ., at Diisseldorf, and the revision was performed there on March 3, 1853, at the Spring Festival of the lower Rhine. It was published in December, 1853, as his Fourth Symphony.

The orchestration includes 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani and strings.

Schumann wrote this symphony a few months after the completion of his First Symphony in B-flat. The D minor Symphony was numbered four only because he revised it ten years later and did not publish it until 1853, after his three others had been written and published (the Second in 1846, the Third in 1850). This symphony,

[7] then, was the second in order of composition. It belongs to a year notable in Schumann's development. He and Clara were married in the autumn of 1840, and this event seems to have stirred in him a new and significant creative impulse: 1840 became a year of songs in sudden

and rich profusion, while in 1841 he sensed for the first time in full degree the mastery of symphonic forms. He had written two years before to Heinrich Dorn, once his teacher in composition: "I often feel tempted to crush my piano — it is too narrow for my thoughts.

I really have very little practice in orchestral music now; still I hope to master it." The products of 1841 show that he worked as well as dreamed toward that end. As Mr. W. J. Henderson has well described this moment of his life: "The tumult of young love lifted him from the piano to the voice. The consummation of his manhood, in the union with a woman of noble heart and commanding intellect, led

him to the orchestra. In 1841 he rushed into the symphonic field, and composed no less than three of his orchestral works." * These works were the First, the "Spring" Symphony, which he began in January 1841, four months after his marriage, and completed in a few weeks; the "Overture, Scherzo and Finale" of April and May, and the D minor Symphony, which occupied the summer months. There might also be mentioned the "phantasie" in A minor, composed in the same summer, which was later to become the first movement of the piano concerto. But the two symphonies, of course, were the trium-

phant scores of the year. The D minor Symphony, no less than its

mate, is music of tender jubilation, intimately bound with the first full spring of Schumann's life — like the other a nuptial symphony, instinct with the fresh realization of symphonic power. The manuscript of the symphony bears the date June 1841, and — 7, at the end "finished at Leipzig, September 9, 1841." Clara observed still earlier creative stirrings, for she recorded in her diary under the date of May 31: "Robert began yesterday another symphony, which will be in one movement, and yet contain an adagio and a finale. I

• "Preludes and Studies."—W. J. Henderson.

[8] have heard nothing about it, yet I see Robert's bustle, and I hear the D minor sounding wildly from a distance, so that I know in advance that another work will be fashioned in the depths of his soul. Heaven is kindly disposed toward us: Robert cannot be happier in the com- position than I am when he shows me such a work." On September

13, which was Clara's birthday, and when also their first child, Marie, then twelve days old, was baptized, Robert presented the young mother with the completed score of the symphony. And the composer wrote modestly in the diary: "One thing makes me happy — the consciousness of being still far from my goal and obliged to keep doing better, and then the feeling that I have the strength to reach it."

The first performance was at a Gewandhaus concert on December 6, Ferdinand David conducting. It was a friendly event, Clara Schumann playing piano solos by their colleagues Mendelssohn, Chopin, Stern- dale Bennett. She appeared jointly with Liszt, in his "Hexameron" for two pianos. Schumann's new "Overture, Scherzo, and Finale" was also played. Unfortunately, the success of the B-flat major Symphony in the previous March was by no means repeated in the new D minor Symphony. The criticisms were not favorable. Clara Schumann, who always defended her husband, wrote that "Robert's Symphony was not especially well performed," and the composer himself added: "It was probably too much of me at a single sitting; and we missed Men- delssohn's conducting too; but it doesn't matter, for I know the things are good, and will make their way in their own good time." But Schumann laid the work aside. It does not seem that he could have considered a revision for some time, for he offered the manu- script to a publisher in 1843 or ^44 as n * s "Second Symphony, Op. 50." According to the testimony of Brahms, many years later, Schu- mann's dissatisfaction with the symphony preceded its first perform- ance. "Schumann was so upset by a first rehearsal that went off badly," wrote Brahms to Herzogenberg, October 1886, "that subsequently he orchestrated the symphony afresh at Diisseldorf." This revision was

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[9] made in December, 1851. The fresh score was performed at Diisseldorf on March 3, 1853, at the Spring Festival of the lower Rhine. This time the work had a decided success, despite the quality of the orchestra which, according to Brahms, was "bad and incomplete," and notwith- standing the fact that Schumann conducted, for, by the testimony of his contemporaries, he was conspicuously ineffectual at the head of an orchestra. When in the following autumn the committee urged that Schumann conduct only his own works in the future, Clara wrote bitterly about the incident.

The Symphony is integrated by the elimination of pauses between the movements, and by thematic recurrence, the theme of the intro- duction reappearing at the beginning of the slow movement, a phrase from the slow movement in the Trio of the Scherzo. The principal theme of the first movement is used in the Finale, and a subsidiary theme in the first movement becomes the leading theme in the Finale. This was a true innovation, foreshadowing the cyclic symphonies of many years later. "He desires," in the opinion of Mr. Henderson, "that the hearer's feelings shall pass, as his own did, from one state to the next without interruption. In a word, this is the first symphonic poem, a form which is based upon the irrefutable assertion that 'there is no break between two successive emotional states.' " Its "community of theme is nothing more or less than an approach to the leit motive system." The Symphony is the most notable example of the symphonic Schumann abandoning customary formal procedure to let his romantic imagination take hold and shape his matter to what end it will. It should be borne in mind that the Symphony was first thought of by its composer as a symphonic fantasia, that it was published by him as

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[10] ''Introduction, Allegro, Romanze, Scherzo and Finale, in One Move- ment." It was in this, the published version, that he eliminated pauses between the movements, although this does not appear in the earlier version save in the joining of the scherzo and finale. The work, save in the slow movement, has no "recapitulations" in the traditional sense, no cut and dried summations. Warming to his theme, Schumann expands to new thematic material and feels no necessity for return. The score

is unmistakably of one mood. It is integrated by the threads of like thoughts. Thematic recurrence becomes inevitable, because this unity of thought makes it natural.

[copyrighted]

FANTAISIES SYMPHONIQUES (SYMPHONY NO. 6) By Bohuslav Martinu

Born in Policka, Czecho-Slovakia, December 8, 1890

The score is dedicated to Charles Munch and to the Boston Symphony Orchestra on the occasion of its 75th anniversary.

The orchestration is as follows: 3 flutes and piccolo, 3 oboes and English horn, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones and tuba, timpani, per- cussion and strings.

Bohuslav Martinu, who now resides in France, completed this work in in 1953. It was composed at the request of Charles Munch.

The score is in three movements, the first of which is episodic, with frequent changes of tempo.

The first movement opens lento, 9/8, with a rhythmic figure from the muted trumpets. An andante moderato, beginning with a solo, increases to an allegro (4/4) introduced by an ascending theme for the horns. The theme is developed at first by the strings alone; other instruments enter until the full orchestra brings a climax. A sustained note from the introduces a new section. In still another, a violin solo carries the melody to a percussive accompaniment. There

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169 Bay State Road, Boston COpley 7-7265 is a return to the opening lento section and a piano ending. This movement is dated on the manuscript "New York, April 25, 1951 — Paris, May 26, 1953." (These are the only dates inscribed upon the score.)

The middle movement is an allegro (6/8) . A theme is first developed by the staccato strings, taken up by the winds and finally given to the full orchestra. A middle section in 2/4 reaches another climax with full orchestral chords and brings a return to the first part, treated more broadly and ending pianissimo. The finale is a lento in common time. The orchestra opens with a

melodic theme (cantabile) . The low strings propose a second theme. An andante section in 3/4 is introduced. A clarinet solo leads into still another section (allegro) for the full orchestra. There is a lento close whereby the Symphony, as well as its earlier movements, ends softly.

In 1951, when Bohuslav Martinu had passed his sixtieth birthday, Olin Downes reported an interview with the composer in the New

York Times of January 7: Martinu, back in the twenties, was the pupil in composition of Roussel in Paris. Mr. Martinu has told us that he became impatient with certain academisms of Roussel, who, nevertheless, must have been of the greatest value in Martinu's development.

That development followed a course all its own in a period in which music has never been more restive and various in its tendencies. Martinu's evolution as an artist in these years has been complex. Born

in , December 8, 1890, he has just passed his sixtieth birthday and his tenth year in America. He has passed through post- Wagnerian, "impressionistic," "neo-classic" influences in composition, kept his head, followed his own path with assurance. His fertility has, if anything, increased over the past. He is obviously at the height of

his creative powers. Probably no one of his contemporaries is today producing so much music which finds its way quickly into the repertory. It could be suspected that this fact connoted a composer who pro-

duced easily, fluently and with a dangerous facility. That is not the case. Martinu has a brilliant and practical technic, but he is incapable of an unthorough or conscienceless job. He works very hard, system- atically, scrupulously, modestly. He produces so much music because, in the first place, his nature necessitates this. He has to write music.

In the second place, he knows his business, and loves it. Both Martinu and his teacher, Roussel, had important things in common. Both had been for years disciples of impressionism. The strongest influence in Martinu's development in Paris was unquestion- ably Debussy. But Martinu was soon to turn in directions more classic and masculine and linear in character, also more essentially national. Was Roussel a guiding force in this change or only a confirmative association?

[12] In any event, the second composition in which Martinu gave notice of his revolt from the past was the first of his works to be made known by Koussevitzky in America — the short, vigorous, modernly rhythmed "La Bagarre" ("Uproar") — in which Mr. Martinu has told us he was thinking of a football game. It was the time when composers, especially in France, were turning avidly to concepts that were rhythmic, linear, uncloudy, and of formal logic. It was the period in which Honegger wrote his witty play of rhythm and symphonic unfoldments, "Pacific 2-3-1"; when Mossolov was writing his steel factory piece, and Prokofieff his ballet "Pas d'acier"

("Steps of Steel"). Yet it is to be said that Martinu was never what one could call a mechanized composer, or one so forgetful of beauty and the emotions of living as to become obsessed by a rhythm or a formula.

There is another aspect of Martinu of which we in America know nothing. The reference is to his , none of which have been done here.* What we know is the work of the symphonist and instrumental composer. Martinu has written in most of the known forms in this field — solo pieces, sonatas for more than one instrument, trios, quar-

tets, symphonies. He wrote his First Symphony after he came to America in the spring of 1941. Performed in '42, it met with an excep-

tional welcome, for its tender and iridescent beauty, harmonic fineness, and lucent, shimmering instrumentation. And it sang what we might call a sublimated Czech song.

This symphony pleased Martinu very much when it was played.

However, he looks upon it now as a work of his past. In composing it

he used a larger orchestra than he would use today and it might be said that this music was somewhat plumper than the leaner, sterner

style that he now cultivates. He is fonder of his Second Symphony, which some reviewers found more obviously, and therefore perhaps less distinctively, Czech than the First. The Second Symphony Martinu considers to represent the break between the fullness of the First Sym- phony and the more concentrated forms that he cultivated later.

"But the Third Symphony," he said, "is my pride. It is tragic in

tone, and I was homesick when I wrote it. It is in three movements and it is a very real symphonic pattern. If you have been told by my friends that I am modest, then I tell you that I am not modest." He laughed. "I had in my mind as a model Beethoven's 'Eroica'. I con- sider it my first real symphony. It is the only one of them not commis- sioned. The first was commissioned by the Koussevitzky Foundation. The Second by the Cleveland Symphony Orchestra. The Third I wrote from my heart as a gift to the Boston Symphony Orchestra, which gave the work its first performance. Koussevitzky and that orchestra have done wonderful things for me in the past.

* Since this article was written, several have been performed. — Ed.

[13] "My Fifth Symphony. It was written for the Philharmonic Festival of 1946, four years ago. I don't exactly know what I think about

it because it is too near to me. But certainly it is a well organized,

organic, orderly work. There are very few places in it with which I am not satisfied. The work had a singular experience in Prague. I think the Government there knows for certain that I am what they call a 'formalist.' I was a very great friend of Jan Masaryk. It may have been for political reasons that my symphony in Prague had very bad reviews

in the press. But this is interesting, indeed somewhat laughable: it received the first prize of the Czech Academy. "The Double Concerto for double string orchestra with piano 1 consider my strongest work. It was written in 1938 at the time of

Munich. It is very difficult, in three movements, and, thematically,

strongly integrated. It is highly dissonant, but in my own opinion the writing is such that the dissonances sound normal, as a result of the

logic of the counterpoint and the development. At the time I wrote it I was in complete isolation in Switzerland, beyond the reach of news- papers, radios or anything but my own ideas and my strongest con- victions. The exhibition of international politics that took place at

Munich had been a terrific shock and tragedy to me, but I think that I succeeded in putting my emotion into a truly classic form." He was concerned with the effect of the final movement of his Piano Concerto which Rudolf Firkusny played with the Boston Symphony in Boston and New York last November, on account of certain incon- gruities in the contents. The last movement of this concerto started out as a polka. Then Martinu received the news of Masaryk's death.

Something of this found its way into the last movement of the concerto. We remember the excitement and sudden new impulse in the music. Many students of Martinu's music believe that it is more truly Czech

in its actual substance than it was before he came to America. He said that substantially he agreed. He said that no American could fully realize the freedom of the atmosphere in America, the absolute lack of restriction of act, of thought. This effected in him a certain release, and that release had resulted in the crystallization of his utmost creative ideas. Mr. Martinu taught for two seasons at beginning in

1942. He taught for two seasons at the Mannes School and is now

teaching at Princeton. He is against students and teachers following textbooks. "The textbooks have all the correct answers," he said, "and they can't produce a measure of living music. With me the students must think for themselves from the beginning."

[copyrighted]

[H] "THE APPRENTICE SORCERER" (after a Ballad by Goethe) By Paul Abraham Dukas

Born at Paris, October 1, 1865; died there May 17, 1935

"L'Apprenti Sorcier," a scherzo, was composed in 1897 anc* first performed at a concert of the SocUti Nationale under the direction of Dukas, on May 18 of the same year. There was a performance in Chicago by the Chicago Orchestra, under Theodore Thomas, January 14, 1899. The first performance at the Boston Sym- phony concerts was on October 22, 1904,

The piece is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets and , 3 bassoons and contra-bassoon, 4 horns, 2 trumpets, 2 cornets-a-pistons, 3 trombones, timpani, , cymbals, triangle, glockenspiel, harp and strings.

Dukas died within one day of thirty-eight years after the first per- formance of his orchestral scherzo, which as a novelty had duly gone the rounds of European orchestras and planted his name in the general consciousness. Gustave Samazeuilh has recalled how the com- poser played him the sketch of his piece in March of 1897. Both musicians were in Brussels for the first performance of d'Indy's "Fervaal." Dukas played his new work on a bad hotel piano, but suc- ceeded in greatly impressing his companion by "its life force, its cer- tainty, its perfect depiction of its subject, which in no way obscured

Constitution Hall, Washington

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Thursday Evening, March 10

BERLIOZ'S "The Damnation of Faust"

(with Chorus and Soloists)

[15] the clarity of the musical structure." Dukas, as was always the case,

Samazeuilh adds, "had long pondered his subject, allowed it to de- velop at leisure before coming to the point of its realization, which was always quick with him, once the moment of decision came." Certain of his friends have hazarded that this work may have been material once intended for the Symphony in C major which it shortly followed, and which has no scherzo. The ballad of Goethe, "Der Zauberlehrling" furnished the subject. The poem was in its turn derived from a traditional tale found in Lucian's "The Lie-fancier." The philosopher Eucrates there tells how he once met on the River Nile the sage Pancrates, who had lived for many years in a cave and there learned the magic of Isis. The tale has thus been translated by William Tooke from "Lucian of Samatosa."

"When I saw him as often as we went on shore, among other sur- prising feats, ride upon crocodiles, and swim about among these and other aquatic animals, and perceived what respect they had for him by wagging their tails, I concluded that the man must be somewhat extraordinary." Eucrates accompanied his new acquaintance as his disciple. "When we came to an inn, Pancrates would take the wooden bar of the door, or a broom, or the pestle of a wooden mortar, put clothes upon it and speak a couple of magical words to it. Immedi- ately the broom, or whatever else it was, was taken by all people for a man like themselves; he went out, drew water, ordered our victuals, and waited upon us in every respect as handily as the completest domestic. When his attendance was no longer necessary, my com- panion spoke a couple of other words, and the broom was again a broom, the pestle again a pestle, as before. This art, with all I could do, I was never able to learn from him; it was the only secret he would not impart to me; though in other respects he was the most obliging man in the world. "At last, however, I found an opportunity to hide me in an obscure corner, and overhead his charm, which I snapped up immediately, as it consisted of only three syllables. After giving his necessary orders to the pestle without observing me, he went out to the market. The following day when he was gone out about business, I took the pestle, clothed it, pronounced the three syllables, and bid it fetch me some water. He directly brought me a large pitcher full. 'Good/ said I, 'I want no more water; be again a pestle/ He did not, however, mind what I said; but went on fetching water and continued bringing it, till at length the room was overflowed. Not knowing what to do, for I was afraid lest Pancrates at his return should be angry, as indeed was the case, and having no alternative, I took an ax and split the pestle in two. But this made bad worse; for now each of the halves snatched up a pitcher and fetched water; so that for one water-carrier I now had two. Meantime, in came Pancrates; and understanding what had happened, turned them into their pristine form; he, how- ever, privily took himself away, and I have never set eyes on him since." [copyrighted]

[16] ) ; )

RCA VICTOR RECORDS BOSTON SYMPHONY ORCHESTRA

Recorded under the leadership of Charles Munch Beethoven Symphony No. 7 Berlioz "Romeo et Juliette" (with chorus and soloists) "The Damnation of Faust" (with chorus and soloists)

Brahms Piano Concerto No. 2 (Soloist, Artur Rubinstein) ; Symphony No. 4 Bruch Violin Concerto No. 1, in G minor (Soloist, Yehudi Menuhin Handel "Water Music" Haydn Symphony No. 104 ("London") Honegger Symphony No. 5 Mozart "Figaro" Overture Ravel Pavane Roussel "Bacchus et Ariane" Schubert Symphony No. 2

Schumann Symphony No. 1 ("Spring") ; Overture, "Genoveva" Strauss Don Quixote ( Soloist, Tchaikovsky Violin Concerto (Milstein)

ALBUM : Ravel, "Rapsodie Espagnole," "La Valse" ; Overtures,

Berlioz, "Beatrice and Benedick" ; Lalo "Le Roi d'Ys" Saint-Saens, "La Princesse Jaune"

Among the recordings under the leadership of SERGE KOUSSEVITZKY

Bach Brandenburg Concertos, Nos. 1 Mozart Eine kleine Nachtmusik ; Ser- & 6, Suites Nos. 1 & 4 enade No. 10, K. 361; Symphonies Nos 36 & 39 Beethoven Symphonies Nos. 3, 5 & 9 " Prokofieff Concerto No. 2 (Jascha Berlioz Harold in ItalyItalv (Frunrose)( Primrose) Heifetz) . Symphony No. 5; Peter Brahms Symphony No. 3; Violin Con- an(i the Wolf> 0p> 67f Eleanor certo (Heifetz) Roosevelt, narrator; Classical Sym Copland "Appalachian Spring"; "A phony; Romeo and Juliet, Suite:

Lincoln Portrait" ; "El Salon Lieutenant Kije Mexico" Rachmaninoff Isle of the Dead Hanson Symphony No. 3 Rave i Bolero ; Ma Mere L'Oye Suite Harris Symphony No. 3 Schubert Symphony, "Unfinished" Haydn Symphonies Nos. 94 92 & Sibelius Symphonies Nos. 2, 5, 7 Khatchaturian Piano Concerto (Wil- Tchaikovsky Serenade in C; Sym Kapell) Ham phonies Nos. 4 & 5; Romeo and Mendelssohn Symphony No. 4 Juliet Overture COMMEMORATIVE ALBUM Sibelius Symphony No. 2; Strauss Don Juan; Wagner Siegfried Idyl)

Recorded under the leadership of IAszt Les Preludes Mozart Piano Concertos, Nos. 12 & 18 (Lili Kraus) Scriabin Le Poeme de l'Extase Stravinsky "Le Sacre du Printemps"

Recorded under the leadership of Leonard Bernstein

Stravinsky "L'Histoire d'un Soldat" ; Octet for Wind Instruments

The above recordings are available on both Long Play (SSy3 r.p.m.) and (in some cases) 45 r.p.m. Baldwin . . . brilliant resonant tone is unequalled in concerto works with orchestra or in recital." CHARLES MUNCH

Let the choice of Baldwin by Mr. Munch, and the BOSTON SYMPHONY ORCHESTRA, be your guide in the selection of a piano for your own home. Baldwin also builds Acrosonic Spinet and Console pianos, Hamilton Studio pianos, and Baldwin and Orga-sonic Elec- tronic Organs. THE BALDWIN PIANO COMPANY CINCINNATI, OHIO